Album Review: Smoulder – Witch Wife in an Alien World

Album Review: Smoulder – Witch Wife in an Alien World

Reviewed by Sam Jones

Smoulder are easily one of the most underrated newest forces in heavy metal right now. Formed in 2013 out of Toronto, Canada, the band now primarily reside in Finland, and though it took some years before their first Demo released word of their prowess exploded with their 2019 opus Times Of Obscene Evil And Wild Daring. Such rapport only increased with the release of their second record, Violent Creed Of Vengeance four years later. Now, due October 9th, Smoulder return again for their third full length record titled Witch Wife In An Alien World. Released independently Smoulder’s new release sees the band, one of the most stable lineups around, prepare to unleash a third assault of epic heavy and doom metal in the veins of Cirith Ungol. This was one record I was plenty excited for.

I feel the vocals this time round have been dropped in the mix somewhat, they don’t feel as pressed forward as they have in previous releases. One side to this is the riffs and other instrumentation is given more room to work with and thus we can appreciate what they bring a little more, the flips side is the vocal impact is considerably reduced and Sarah’s vocal stamp, a longtime force in Smoulder’s identity, doesn’t feel as prevalent now. Her strength and presence is here, let’s not forgo that entirely, but it feels noticeably quelled. Like much of the band’s performance the vocals are conveyed with this softer, nigh smothered, aesthetic where they’ve maybe wished to blend their varying components together with better ease however it makes for an impact that’s greatly lessened as a result.

The guitar work mirrors this concept too for the riffs have opted for a steadier, safer approach perhaps to reel in as many newcomers as possible. But the others side of this approach has smoothed out all the sharper and more obtuse edges Smoulder’s blade so passionately wielded. Their songwriting is still entertaining and with a multitude of sequences to draw you in and keep you invested, yet I couldn’t help but feel I’m listening to a band performing at seventy-five perfect their potential knowing the great heights they’ve previously scaled. Even many of the chords and licks feel like they’ve been unnecessarily muted in their strength whereby their sound is constantly having to push forth as opposed to bulldoze their way across naturally.

Since the riffs don’t hit as completely as you wish I think it’s made it harder for their songwriting to be conveyed as cohesively as before. Due to songwriting that isn’t sticking the landing at every turn it’s caused tracks to be that little harder to follow since they possess less memorability if you ask me. Even though I know I’m happy listening to Smoulder’s record here and acknowledge I’m enjoying it, I don’t think I could relay any favourite of mine because of the reduced memorability these songs have. With that said, I don’t think there’s as much replayability nor variety with this record, for I ventured halfway into the record and realised I couldn’t tell one track from the other all that well, albeit with maybe a single instance throughout each track.

The instrumentally shining example on record though are the drums for they really carry the songwriting across. It’s far from the same patterns or 4/4 beat, especially when Smoulder play a variation of epic heavy and doom metal where drums typically aren’t the most technically demanding, but as one listens you’ll pick out changes and differences that help them stand out. These can be small pieces but they help break up what you expect out of such a record, creating a more exciting and lively experience. Given how the guitars and vocals don’t feel as strong here, the drums are exceedingly important now, applying a responding nature to the songwriting whereby what the drums provide is dependent on the songwriting’s tone. More jovial? The drums are lighter. Heavier in weight? The drums will break out the bass some more. The band are going for more sustained pieces? You’ll find the drums implementing more unexpected fills and utilise the full kit.

In conclusion, I’ve found Witch Wife In An Alien World to be a record with strengths and considerable weaknesses. On the whole however I don’t think it’s an outrightly “bad” record, I think it’s been failed during the mix process; I can’t help but feel when the time comes for this material to be performed live, it’ll be received far more positively than it is on record. I think the mix has really reduced the potential of the vocals and riffs, their power feels terribly muffled, softened, rounded off with minimal impact and allure. As a record I don’t feel the need to revisit this knowing the bangers Smoulder have cranked out beforehand, and yet I think there’s something here for those seeking a steadier, perhaps more accessible epic heavy metal release that’s going to hold their hand some more. Perhaps multiple listens is the key to understanding this record but upon an initial listen I’m happy sticking with Smoulder’s earlier pieces. But who’s to say time won’t be on this record’s side? Metal, like any music, is subjective. Let’s see how the wider community responds to this record upon its release for it changes nothing on how I view Smoulder, as one of today’s most underrated acts.

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